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A SILVER OFFERING BOWL WITH SCENES FROM THE VIDHURA-PANDITA JATAKA
BURMA (MYANMAR), CIRCA 1918
Inscribed underneath with the patron’s name, “U Po Ni”.
6 3/4 in. (17 cm) high; 13 3/8 in. (34 cm) diameter;
61 troy oz (1,893 grams) approximate weight
$18,000 - 22,000

In the Vidhura-Pandita Jataka, the bodhisattva that will later become Gautama Buddha perfects
the virtue of truthfulness (sacca), at once a keen perception of the true reality of things and an
unwavering commitment to imparting this truth. Reborn as a renowned advisor to a virtuous
king, the bodhisattva uses undivided speech throughout the story—even when it puts him in
harm’s way—thereby preventing disputes among rulers, offering amnesty, and ultimately saving
the antagonists who initially conspired to kill him.

The silversmith has created an intricate panoramic narrative of the jataka’s key plot moments.
Punctuated by large trees, scenes include the dice game through which Punnaka (the jataka’s
chief antagonist) wins custody of the bodhisattva, Punnaka’s attempt to kill the bodhisattva,
and his subsequent conversion. The story comes to a resolution when the bodhisattva
teaches the Dharma to the Naga people, and Punnaka is rewarded with the hand of the Naga
princess. The horizontal bands framing the main narrative feature large acanthus leaves and
ogre masks that likely represent Punnaka.

Aided by the clear rendering of architectural backdrops and a dynamic compositional flow, the
bowl is an excellent example of how Burmese silver offering bowls served didactic purposes
for lay Buddhists, while also functioning as vessels for generating karmic merit with donations.
The inclusion of an audience to each scene is a common pictorial device in Buddhist art,
which happens to be faithful to the literary format of the jatakas as a set of recollections told by
Buddha to his followers. The bowl’s bustling composition and figural depictions are very similar
to those on an offering bowl with scenes of the Ramayana, also in the Noble Silver Collection,
which is dated by inscription to 1918 (Owens, Burmese Silver Art, p.79, no.S106, fig.3.62).

Published:
Owens, Burmese Silver Art, pp.160-5, no.S126, figs. 4.80-8.

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